And when you are foolish enough to identify yourself as a poet, your interlocutors will often ask: A PUBLISHED Poet? And when you tell them that you are, indeed, a published poet, they seem at least vaguely impressed. Why is that? Its not like they or anybody they know reads poetry journals. And yet there is something deeply right, I think, about this knee-jerk appeal to publicity. It's as if to say: Everybody can write a poem, but has your poetry, the distillation of your innermost being, been found authentic and intelligible by others? Can it circulate among persons, make of its readership, however small, a People in that sense? This accounts for the otherwise bafflingly persistent association of Poetry and fame - baffling since no poets are famous among the general population. To demand proof of fame is to demand proof that your songs made it back intact from the dream in the stable to the social world of the fire, that your song is at once utterly specific to you and exemplary for others. Ben Lerner
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  3. We love the things we love for what they are. - Robert Frost

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More Quotes By Ben Lerner
  1. Laser technology has fulfilled our people's ancient dream of a blade so fine that the person it cuts remains standing and alive until he moves and cleaves. Until we move, none of us can be sure that we have not already been cut in half,...

  2. Our contempt for any particular poem must be perfect, be total, because only a ruthless reading that allows us to measure the gap between the actual and the virtual will enable to to experience, if not a genuine poem–no such thing–a place for the genuine,...

  3. Poetry arises from the desire to get beyond the finite and the historical–the human world of violence and difference–and to reach the transcendent or divine. You're moved to write a poem, you feel called upon to sing, because of that transcendent impulse. But as soon...

  4. Since the world is ending, ” Peter quoted from behind us, “why not let the children touch the paintings?

  5. I believe she imbued my body thus, finding every touch enhanced by ambiguity of intention, as if it too required translation, and so each touch branched out, became a variety of touches.

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